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|Glamour Smokers
Click here to visit site
|Short review: Glamour Smokers has a attractive little thing going for itself here. It needs a few extra perks added in a few places, like making the flicks a bit longer, more material overall, ZIP files for the photos, et cetera. but, all in all, they have a good start, and it could be as habit forming as the cigaret youre about to light. They did offer everything promised throughout the preview area.


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I make apps in my free time and I try to localize them myself, mostly using Google Translate, existing open source resource files etc.
Some words though, are very specific when it comes to computer or smart phone usage, so the translations I come up with can sometimes be totally out of context.
For example, how would you translate "tap", "long press", "swipe" and "flick"? These are typical words that come up all the time in smart phone usage.

subset: commoncrawl


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Tiki joins NBC's Today
Nearly a year after one UVA alum said goodbye to the window at Rockefeller Center to take a more prestigious post in the news biz, another will come to begin his career anew. Yesterday, NBC announced that starting in April, Cavalier gridiron great Tiki Barber will become the latest member of the Today show's on-air team. But don't think he'll just be the sports guy. The recently-retired New York Giant said in a press conference yesterday he will act as a "correspondent" reporting on everything from "technology to education to parenting." "My dream has always been to be on the Today show," he said, and called ten-year veteran of Today Matt Lauer his "idol."
Barber's move from the locker room to morning show desk is not an unprecedented one. As NBC CEO Jeff Zucker pointed out yesterday, former Major League catcher Joe Garagiola did work on Today in the '60s, '70s and '90s and fellow Giants alum Frank Gifford has cultivated a long career in broadcasting events other than sports.
That's not to say one of UVA's all-time great athletes won't talk a little ball, too. In addition to his morning duties, he'll also be an analyst on NBC's Football Night in America and will go to Beijing in 2008 to cover the Summer Olympics.


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Cinematic Piano & Orchestral Music
Welcome! I compose piano and cinematic music but also several other genres. My music has been used by CBS, Discovery Network, ReelZ Channel, NBC Sports, Tennis Channel, Texas Dept of Transportation, Science Council of Canada, Insight for Living Ministries and many others. Feel free to email me. Thanks so much!


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Welcome to "10 of the rest", Pocket Gamer's round-up of all the new iPhone, iPad, and Android games that we didn't find time to cover this week.
Hundreds of new games hit the App Store and Google Play every day, so we can never write about everything. Instead, we pick and choose the most interesting and noteworthy apps.
To make sure no one is left out, though, we like to chuck all the 'leftover' new games in this here article.
Have a read, and do let us know if we should have devoted more coverage to any of the games on this list.Car Jack Streets: Director's Cut
By Tagplay - buy on iPhone and iPad
Tag's Car Jack Streets was one of the first GTA-style games on iOS, and tided us over nicely until games like Grand Theft Auto: Chinatown Wars and Gangstar hit the App Store.
If you've still got a soft spot for the original, though, here it is again, all dolled up for the latest and greatest iOS devices.
By Toco Games - buy on iPhone and iPad
An endless-jouster, where you ride through randomly generated landscapes, and stab evil knights, dragons, skeletons, spiders, and bats with your lance. You'll also need to jump over and dodge obstacles to survive.
The game uses Unreal Engine to power those lovely lush graphics.Parashoot Stan
By Funbag Games - buy on iPhone and iPad
Parashoot Stan is the first app from Chris Seavor, an ex-Rare developer and project lead on the much-loved Conker games.
There are no alcoholic squirrels or talking poos here, though: just a gorgeous endless-falling game about a brave paratrooper and the evil Baron Bully.Shadow Warrior
By General Arcade - download free on iPhone and iPad
It's the '90s FPS that was even more offensive than Duke Nukem.
The game that straddled the line between parody and all-out racism.
The game with a main character called Lo Wang.
If you fondly remember this crass shooter, you can relive those sordid memories in this iOS port.
By Playdek - buy on iPhone and iPad
Last year, web comic empire Penny Arcade put out its very own card game, featuring characters and references from the strip. This well-respected deck builder is now available on iOS, complete with both asynchronous online and pass-the-handset multiplayer.
You'll need to be a card-carrying Penny Arcade super-fan to understand half the jokes, mind.UberStrike
By Cmune - download free on Pad or Android
We can appreciate the ambition of free-to-play blaster UberStrike. It's a fast-paced, cross-platform FPS, which lets you go toe-to-toe with an Android owner or a PC gamer.
But, hang on, that doesn't sound like the most level playing field.
Battling against someone with a keyboard and mouse, or more cash to spend on credits, is always going to lead to an unfair fight.Super Mega Worm Vs Santa 2
By Deceased Pixel - buy on iPhone and iPad
The bafflingly popular Super Mega Worm is back, with a second (!) seasonal spin-off.
This time, you're deep inside Santa's workshop, where you'll cause chaos as you munch on elves, gobble down reindeer, and defeat mecha Santa. This mechanised St Nick's got more powers than before, apparently.SolForge
By Stone Blade Entertainment - download free on iPad
SolForge isn't really a game. It's more of a demo that serves as a preview for an upcoming card game from the creator of Ascension and Magic: The Gathering 2013.
Apparently, it's going to "redefine the genre". Big words, but early previews from card game aficionados are very positive.
Give it a spin and let us know if you like it.Cook, Serve, Delicious
By David Galindo - buy on iPad
Previously exclusive to personal computers, this much-admired hardcore restaurant sim is now available on iPad (2 and up).
Since you manage an up-and-coming bistro, you'll have to take care of everything.
Not only will you prepare each dish - with a nifty touch-based interface - but you'll also repair broken-down machines and clean out the toilets. Just remember to wash your hands, bro.Ronin
By Bulwark Studios - buy on iPhone and iPad
We're a tad blasé about auto-runners at this point, but Ronin's fantastic art style and thorny difficulty level make it worth checking out.
You're a sword-wielding samurai, and you need to leap over peasants, slash up enemies, and slide beneath archers' arrows.
It's got a great sense of style and lots of content. Take a look at this one.


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Guest Posts on Games Websites
- Get visitors who are genuinely interested in your services
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Search by Keyword:
What results can you expect?
With Accessily, guest posting is 100 times quicker! We've streamlined the entire process and reduced it to a fraction of what it took before.
Instead of taking three months to get one backlink, you can now get 30+ Games backlinks in a month.
Give Accessily a try today with a free account!
Over 15,000 websites that accept guest posts
are waiting for you on Accessily
If you've landed on this page, you've done your SEO research!With the SEO ninja skills you've learned, you know need guest posting to get to #1 in Google!
You've read that you need to contact 100 websites - wait - not just websites, but Games websites that accept guest bloggers!
And you know that out of those hundred, you might get 1 that will accept your guest post! That's your goal!
Now, it's just a matter of hustling and bustling to find those sites and email them. Then, wait and hope they get back to you.
Even though your intuition tells you that seems like a lot of work and time spent for one link...
Even though your intuition tells you that seems like a very awkward, spammy way to do it...
Even though your intuition tells you there's got to be better ROI...
...that's what all the other Games bloggers are doing, so it must be the way, right?
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But, there's more...
We've also made it super easy to analyze each of the websites, check their domain authority, find out their terms, prices, etc.
We have a guest post article manager to keep track of all your guest posts in one place.
You can schedule them with our scheduler and track them with our backlinks tracker.


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Copyright © 2015 Crafty Monkey All rights reserved. Data Protection
01480 219222
Opening Times
Tues to Sat: 10am - 4pm
Adults Night Thursday until 9pm (by appointment only)
Check our website or facebook page for seasonal opening times
12 Moores Walk
St. Neots
(inbetween Argos and Barclays)
For enquiries and bookings, call us on 01480 219222.
Email- [email protected]
We have wheelchair access, baby changing mat and a customer toilet. There is a disabled public toilet nearby
Parking is one minute walk away in Tebbutts Road where you'll find two pay and display carparks.
Why not like Crafty Monkey on Facebook and follow us on Twitter:


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Are you a Concept Artist?
Luma is a leading visual effects studio that has worked on tons of blockbuster films like Ant-Man, Guardians of the Galaxy, and Prometheus; Academy Award-winning films including Crash, True Grit and No Country for Old Men; and numerous commercials such as A Mini Marvel for Coke which aired during Super Bowl 50. We are a crew of talented artists that hail from all over the world, who are passionate about creating mind blowing work. On top of that, we are a cool company, with cool people, cool offices, and we do cool things. Can't beat that!
If you're down to become part of a growing family, we'd love to hear from you.
-Concept art / Mood Frames
-3D blocking for environments and architectural subjects
-Photo-bashing technologies
-Digital painting
-Artist should be familiar with more than one of the following applications - 3D package (Maya, 3DsMax) / Photoshop / Painter / ZBrush
If this you, please apply here: http://www.lumapictures.com/job-detail/?job_id=adcd77ec-715e-4e6e-9933-d...


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Time to vote again. Here are some options for a happy hour get-together during June or July. Please look these over and let me know what preference you have. This is a social gathering just for fun so don't worry about us putting up a projector, collecting dues, or conducting 'business'. Everyone will cover their own drinks and food.
Leave your vote in the comments, email us at firstname.lastname@example.com or visit our Facebook page: http://www.facebook.com/pages/RPCV-NENY/214387015283092
All welcome.
Pick a location and also a date you like best.
Locations (all have outdoor patios/areas):
1-Troy Pub and Brewery, Troy http://brownsbrewing.com/
2-The Point, Madison Ave, Albany http://thepointalbany.com/
A-Thursday, June 21
B-Wednesday, June 27
C-Thursday, June 28
D-Wednesday, July 11
E-Thursday, July 12


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Reg. price
Price includes VAT
Please note we do not ship outside the UK
High quality AV stand in Black from well respected manufacturer Spectral
This is because some items require more setting up than others (e.g. multi room systems) or have advanced settings.
To ensure you get the most from your equipment we need to take you through the process of setting it up correctly.
Sometimes the equipment is simply not suitable for shipping (e.g. glass stands that have been built up).
Simply reserve your product today and then arrange to pick it up from your nearest Audio-T store.
Items showing as "In Stock" are within the Audio T group and we may need additional time to transfer to your selected branch.
© 2020 Audio T (UK) Limited. All rights reserved. Company number: 03471039
Registered office: 19 Old High Street, Headington, Oxford, OX3 9HS


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Stay informed about our latest products and promotions.
Dear Customer,
ThinkGadgets Ltd has now changed to Light Style London Ltd.
After 16 years as ThinkGadgets, we felt that a more contemporary name would better reflect our place as leader in the novelty lighting sector. With this new name, we reliably continue to serve all our customers with new innovative and artistic lighting products.
Please note that our email addresses have also changed to the new domain @lightstylelondon.co.uk. For enquiries email firstname.lastname@example.com.
We look forward to continue providing you with the same personal service. Thank you for your loyalty which means so much to us.
ThinkGadgets Team.


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Frequent Links
Art Institute of Chicago
|Art Institute of Chicago
One of the two lion statues (Kemeys, bronze 1893) flanking the Institute's main entrances
|1879; in present location since 1893
111 South Michigan Avenue
Chicago, IL 60603
1,846,889 (2009)[1]
|Douglas Druick
|Public transit access
CTA Bus routes:
(6 and 28 line)
'L' and Subway stations:
Brown Line
Green Line
Orange Line
Pink Line
Purple Line
Red Line
Jackson-Dearborn(at Dearborn Street):
Blue Line
Metra Train:
Van Buren Street Station
The Art Institute of Chicago (AIC) is an encyclopedic art museum located in Chicago's Grant Park. It features a collection of Impressionist and Post-Impressionist art in its permanent collection. Its holdings also include American art, Old Masters, European and American decorative arts, Asian art, modern and contemporary art, and architecture and industrial and graphic design. In addition, it houses the Ryerson & Burnham Libraries.
Tracing its history to a free art school and gallery founded in 1866, the museum is located at 111 South Michigan Avenue in the Chicago Landmark Historic Michigan Boulevard District. It is associated with the School of the Art Institute of Chicago and is overseen by Director and President Douglas Druick.[2] At one million square feet, it is the second-largest art museum in the United States, after the Metropolitan Museum of Art.[3]
- 1 History
- 2 Collection
- 3 Architecture
- 4 Selections from the permanent collection
- 5 Management
- 6 The Art Institute in film
- 7 See also
- 8 References
- 9 External links
In 1866, a group of 35 artists founded the Chicago Academy of Design in a studio on Dearborn Street, with the intent to run a free school with its own art gallery. The organization was modeled after European art academies, such as the Royal Academy, with Academians and Associate Academians. The Academy's charter was granted in March 1867.
Classes started in 1868, meeting every day at a cost of $10 per month. The Academy's success enabled it to build a new home for the school, a five-story stone building on 66 West Adams Street, which opened on November 22, 1870.
When the Great Chicago Fire destroyed the building in 1871 the Academy was thrown into debt. Attempts to continue despite the loss by using rented facilities failed. By 1878 the Academy was $10,000 in debt. Members tried to rescue the ailing institution by making deals with local businessmen, before some finally abandoned it in 1879 to found a new organization, named the Chicago Academy of Fine Arts. When the Chicago Academy of Design went bankrupt the same year, the new Chicago Academy of Fine Arts bought its assets at auction.
In 1882, the Chicago Academy of Fine Arts changed its name to the current Art Institute of Chicago The same year, they purchased a lot on the corner of Michigan Avenue and Van Buren Avenue for $45,000. The property's building was leased, and a new building was constructed behind it to house the school's facilities.
With the announcement of the World's Columbian Exposition to be held in 1892–93, the Art Institute pressed for a building on the lakefront to be constructed for the fair, but to be used by the Institute afterwards. The city agreed, and the building was completed in time for the second year of the fair. Construction costs were met by selling the Michigan/Van Buren property. On October 31, 1893 the Institute moved into the new building. From the 1900s (decade) to the 1960s the school offered with the Logan Family (members of the board) the Logan Medal of the Arts, an award which became one of the most distinguished awards presented to artists in the US.
Between 1959 and 1970 the Institute was a key site in the battle to gain art & documentary photography a place in galleries, under curator Hugh Edwards and his assistants.
As Director of the museum starting in the early 1980s, James N. Wood conducted a major expansion of its collection and oversaw a major renovation and expansion project for its facilities. As "one of the most respected museum leaders in the country", as described by The New York Times, Wood created major exhibitions of works by Paul Gauguin, Claude Monet and Vincent van Gogh that set records for attendance at the museum. He retired from the museum in 2004.[4]
In 2006, the Art Institute began construction of "The Modern Wing", an addition situated on the southwest corner of Columbus and Monroe. The project, designed by Pritzker Prize winning architect Renzo Piano, was completed and officially opened to the public on May 16, 2009. The Script error: No such module "convert". building makes the Art Institute the second-largest art museum in the United States. The building houses the museum's world-renowned collections of 20th- and 21st-century art, specifically modern European painting and sculpture, contemporary art, architecture and design, and photography. In 2014, travel review website and forum, Tripadvisor, reviewed millions of travelers' surveys and named the Art Institute the world's best museum.[5]
In April 2015, it was announced that the museum received perhaps the largest gift of art in its history.[6] Collectors Stefan Edlis and Gael Neeson donated a "collection [that] is among the world's greatest groups of postwar Pop art ever assembled."[7] The donation includes works by Andy Warhol, Jasper Johns, Cy Twombly, Jeff Koons, Charles Ray, Richard Prince, Cindy Sherman, Roy Lichtenstein and Gerhard Richter. The museum agreed to keep the donated work on display for at least 50 years.
The collection of the Art Institute of Chicago encompasses more than 5,000 years of human expression from cultures around the world and contains more than 260,000 works of art. The museum holds works of art ranging from early Japanese prints to modern American art. It is principally known for one of the United States' finest collection of paintings produced in Western culture.[8][9]
Today, the museum is most famous for its collections of Impressionist, Post-Impressionist, and American paintings. Highlights included in the Impressionist and Post-Impressionist collection include more than 30 paintings by Claude Monet including six of his Haystacks and a number of Water Lilies. Also in the collection are important works by Pierre-Auguste Renoir such as Two Sisters (On the Terrace), and Gustave Caillebotte's Paris Street; Rainy Day. Post-Impressionists include Paul Cézanne's The Basket of Apples, and Madame Cézanne in a Yellow Chair. At the Moulin Rouge by Henri de Toulouse-Lautrec is another highlight. The pointellist masterpiece, which also inspired a musical, Georges Seurat's A Sunday Afternoon on the Island of La Grande Jatte, is prominently displayed. Additionally, Henri Matisse's Bathers by a River, is an important example of his work. Highlights of non-French paintings of the Impressionist and Post-Impressionist collection include Vincent van Gogh's Bedroom in Arles and Self-portrait, 1887.
Among the most important works of the American collection are Mary Cassatt's The Child's Bath, Grant Wood's American Gothic, and Edward Hopper's Nighthawks. The Child's Bath (1892), Cassatt's intimate portrayal, unusual for the time, was first exhibited in 1890s Paris and came into the collection in 1910. Although in the main Cassatt is an impressionist, the work's subject matter and the overhead perspective were inspired by Japanese woodblocks.[10][11] The more formal portrait, American Gothic (1930), by Wood, depicts what has been called "the most famous couple in the world," a dour, rural-American, father and daughter. It was entered into a contest at the Art Institute in 1930, and although not a favorite of some, it won a medal and was acquired by the museum.[12][13] Considered an "icon of American culture",[14][15] Nighthawks (1942) is perhaps Hopper's most famous painting, as well as one of the most recognizable images in American art;[16][17] its image is on the cover of the Museum's 20th Century Art Collection retrospective by James N. Wood.[18] Within months of its completion, Nighthawks was sold to the Art Institute of Chicago for $3,000.[19] On May 13, 1942, Hopper wrote to Daniel Catton Rich, the then director of the Art Institute of Chicago, that he was "very much pleased that you like my Nighthawks well enough to acquire it for the Art Institute. It is, I believe, one of the very best things I have painted."[14][20] The museum's acquisition of Nighthawks "launched" the painting to its "immense popular recognition." [21] Rich found the painting so important, that the Art Institute awarded the image its Ada S. Garret American Art prize.[22]
In addition to paintings, the Art Institute offers a number of other works. Located on the lower level are the Thorne Miniature Rooms which 1:12 scale interiors showcasing American, European and Asian architectural and furniture styles from the Middle Ages to the 1930s (when the rooms were constructed).[23] Another special feature of the museum is the Touch Gallery which is specially designed for the visually impaired. It features several works which museum guests are encouraged to experience though the sense of touch instead of through sight as well as specially designed description plates written in braille.[24] The American Decorative Arts galleries contain furniture pieces designed by Frank Lloyd Wright and Charles and Ray Eames. The Ancient Egyptian, Greek, and Roman galleries hold the mummy and mummy case of Paankhenamun,[25] as well as several gold and silver coins. Whereas, the museum's new Modern Wing (see below) displays additional important works from the 20th and 21st centuries.
Terra Collection
Since April 2005, approximately fifty paintings originally from the Terra Museum (now the Terra Foundation) collection have been on loan to the Department of American Art at the Art Institute of Chicago. The collections of the Terra and the Art Institute are located in a new suite of galleries, and together provide one of the nation's most comprehensive presentations of American art. The foundation's collection of American works on paper are housed in the Department of Prints and Drawings at the Art Institute.
African American Art Collection
Institutions like the Art Institute of Chicago have assisted in creating a place for African American art to be explored freely without the restraints that once accompanied it. The pieces included in the Art Institute of Chicago's African American art collection provide a historical illustration of the progress made by African Americans as well as their continuing struggle.
Specific pieces in this section of the museum give insight into the racial boundaries that existed in the past. Samuel J. Miller's Frederick Douglass daguerreotype is an example of the way some African Americans managed to break away from stereotypes. The daguerreotype had been used by people like Louis Agassiz to show a "type" for ethnic groups. The style of J.T. Zealy's daguerreotype photographs made the subject seem vulnerable, even animalistic. For example, "Delia" (1850) shows a female slave completely exposed and in a sense victimized by the camera. Conversely, the Douglass daguerreotype shows a well-dressed man with a strong expression. This is the complete opposite from the submissiveness of the slaves in the Zealy photos. Douglass represented a new kind of Negro. He was educated and well-respected. This marks a shift in the idea of blackness and the way it is represented.
An artist that took it upon himself to continue to change the way blacks were in portrayed in art is Archibald John Motley, Jr. He aimed to paint "his people" just as they were. Motley said he "wanted to instill a sense of racial pride into his work.[26] Motley attended the School of the Art Institute of Chicago and had to deal with occasional harassment from white classmates. Yet, he continued to believe that art was the best way to approach racial tensions.[27]
In his piece The Octoroon Girl (1925), Motley challenges the conventional image of an African American. While the woman in the painting fits the mold of "whiteness," she actually is 1/8 black. Breaking away from the traditional views of blacks was indicative of the time period. References such as octoroon or mulatto were used to describe how much "black blood" a person possessed. Motley takes this concept from a negative connotation to one that is independent of social status.
Another piece included in the Art Institute of Chicago's African American art collection is "The Boxer" by Richmond Barthé. Barthe is a significant figure among African American artists because his work was widely exhibited and recognized by reputable organizations. His sculptures depicted African Americans but were sought after pieces in the mainstream art world. In 1942, "The Boxer" coincided with a time period where black boxers such as Joe Louis were fighting white opponents and beating them. This signified a big step for African Americans and equality, at least in the ring.
The changing idea of blackness and African American art was also advanced by artists like Jacob Lawrence. Most of his work focused on African American history and utilized techniques like repetition to emphasize his message. In Graduation, 1948, Lawrence addresses the importance of getting a diploma and how the event can affect a family's morale. This piece went along with Langston Hughes' poem by the same title.[28] The contrast of black and white in the painting can indicate the fact that such an event is significant to both African and white Americans. An emphasis on education has been central to African American advancement. Frederick Douglas was a major supporter of the idea that education was the path to social equality. "Graduation" manages to depict blacks as academically oriented, a positive image of African Americans.
The use of art as political motivators has been a key factor in African American art. The Art Institute's collection also touches on the social implications of African American art. Black artists are a result of the fight their ancestors faced and the current boundaries that are still left to cross.[29] This powerful medium has evoked discussion about racial tensions and brought attentions that would have otherwise gone under the radar. Such approaches coincided with the emergence of political groups such as the NAACP and Africobra, for artists. African American artists utilized their work to address social and political issues of black people.[30] The combination of forces led to a more prevalent public conversation about racial equality. As African American artists banded together for projects such as the Wall of Respect, their concerns came to the forefront. Their paintbrushes had power.
In essence, the Art Institute of Chicago provides an accurate historical narrative of the lives of African Americans. Comparing daguerreotype images to the more recent pieces show a world of difference. Not only has the perception of African Americans changed, but also African American artists have established a separate school of art. The shift from being defined by African influence, to simply learning from the African link, has helped these artists break the mold they were previously forced to fit.
The current building at 111 South Michigan Avenue is the third address for the Art Institute. It was designed in the Beaux-Arts style by Shepley, Rutan and Coolidge of Boston[31] for the 1893 World's Columbian Exposition as the World's Congress Auxiliary Building with the intent that the Art Institute occupy the space after the fair closed.
The Art Institute's famous western entrance on Michigan Avenue is guarded by two bronze lion statues created by Edward Kemeys. The sculptor gave them unofficial names: the south lion is "stands in an attitude of defiance," and the north lion is "on the prowl." When a Chicago sports team plays in the championships of their respective league (i.e. the Super Bowl or Stanley Cup Finals, not the entire playoffs), the lions are frequently dressed in that team's uniform. Evergreen wreaths are placed around their necks during the Christmas season.
The east entrance of the museum is marked by the stone arch entrance to the old Chicago Stock Exchange. Designed by Louis Sullivan in 1894, the Exchange was torn down in 1972, but salvaged portions of the original trading room were brought to the Art Institute and reconstructed.
The Art Institute building has the unusual property of straddling open-air railroad tracks. Two stories of gallery space connect the east and west buildings while the Metra Electric and South Shore lines operate below. The lower level of gallery space was formerly the windowless Gunsaulus hall, but is now home to the Alsdorf Galleries showcasing Indian, Southeast Asian and Himalayan Art. During renovation, windows facing north toward Millennium Park were added. The gallery space was designed by Renzo Piano in conjunction with his design of the Modern Wing and features the same window screening used there to protect the art from direct sunlight. The upper level formerly held the modern European galleries, but was renovated in 2008 and now features the Impressionist and Post-Impressionist galleries.
Located on the ground floor of the museum is the Ryerson & Burnham Libraries. The Libraries' collections cover all periods of art, but is most known for its extensive collection of 18th to 20th century architecture. It serves the museum staff, college and university students, and is also open to the general public. The Friends of the Libraries, a support group for the Libraries, offers events and special tours for its members.
Modern Wing
On May 16, 2009, the Art Institute opened the Modern Wing, the largest expansion in the museum's history.[32] The Script error: No such module "convert". addition, designed by Renzo Piano, makes the Art Institute the second-largest museum in the US.[3] The architect of record in the City of Chicago for this building was Interactive Design. The Modern Wing is home to the museum's collection of early 20th-century European art, including Pablo Picasso's The Old Guitarist, Henri Matisse's Bathers by a River, and René Magritte's Time Transfixed. It also houses contemporary art from after 1960; new photography, video media, architecture and design galleries including original renderings by Frank Lloyd Wright, Ludwig Mies van der Rohe and Bruce Goff; temporary exhibition space; shops and classrooms; a cafe and a restaurant, Terzo Piano, that overlooks Millennium Park from its terrace.[33] In addition, the Nichols Bridgeway connects a sculpture garden on the roof of the new wing with the adjacent Millennium Park to the north and a courtyard designed by Gustafson Guthrie Nichol. In 2009, the Modern Wing won a Chicago Innovation Awards.[34]
Selections from the permanent collection
Note that other notable works are in the collection but the following examples are ones in the public domain and for which pictures are available.
- Saint Martin and the Beggar (c1597-1600) by El Greco - Chicago.jpg
El Greco, Saint Martin and the Beggar, c. 1597–1600
- Rembrandt Harmensz. van Rijn - Old Man with a Gold Chain - Google Art Project.jpg
Rembrandt, Old Man with a Gold Chain, c. 1631
- Antoine Watteau - Fête champêtre (Pastoral Gathering).jpg
Antoine Watteau, Fête champêtre (Pastoral Gathering), 1718–1721
- Eugène Ferdinand Victor Delacroix 021.jpg
Eugène Delacroix, The Combat of the Giaour and Hassan, 1826
- The Captive Slave.jpg
John Simpson, The Captive Slave, 1827
- Seascape Calm Weather .jpg
Édouard Manet, Seascape Calm Weather, 1864–1865
- Jesus Mocked by the Soldiers.jpg
Édouard Manet, Jesus Mocked by the Soldiers, 1864–1865
- The Philosopher.jpg
Édouard Manet, The Philosopher, (Beggar with Oysters), 1864–1867
- Gustave Caillebotte - Paris Street; Rainy Day - Google Art Project.jpg
Gustave Caillebotte, Paris Street; Rainy Day, 1876–1877
- Pierre-Auguste Renoir - By the Water.jpg
Pierre-Auguste Renoir, By the Water, 1880
- Pierre-Auguste Renoir 007.jpg
- Jules Breton, le chant de l'alouette.1884.jpg
Jules Breton, Song of the Lark, 1884
- Paul Cézanne 044.jpg
Paul Cézanne, The Bay of Marseilles, view from L'Estaque, 1885
- Edgar Germain Hilaire Degas 011.jpg
Edgar Degas, The Millinery Shop, 1885
- A Sunday on La Grande Jatte, Georges Seurat, 1884.png
- VanGogh 1887 Selbstbildnis.jpg
Vincent van Gogh, Self-portrait, 1887
- Vincent Willem van Gogh 135.jpg
Vincent van Gogh, Bedroom in Arles, 1888
- Wheatstacks (End of Summer), 1890-91 (190 Kb); Oil on canvas, 60 x 100 cm (23 5-8 x 39 3-8 in), The Art Institute of Chicago.jpg
Claude Monet, Wheatstacks (End of Summer), 1890–1891
- Paul Cézanne 185.jpg
Paul Cézanne, The Basket of Apples, c.1890s
- Lautrec at the moulin rouge 1892.jpg
- Paul Gauguin 139.jpg
Paul Gauguin, Why are you angry? (No te aha oe Riri), 1896
- Winslow Homer - After the Hurricane, Bahamas.jpg
Winslow Homer, After the Hurricane, 1899
- Odilon Redon - Sita.jpg
Odilon Redon, Sita, 1903
- Old guitarist chicago.jpg
Pablo Picasso, The Old Guitarist, 1903
- Pablo Picasso, 1904, Woman with a Helmet of Hair, gouache on tan wood pulp board, 42.7 x 31.3 cm, Art Institute of Chicago.jpg
Pablo Picasso, 1904, Woman with a Helmet of Hair, gouache on tan wood pulp board, 42.7 × 31.3 cm
- Edgar Degas - Woman at Her Toilette.jpg
Edgar Degas, Woman at Her Toilette, c. 1900–1905
- Claude Monet - Water Lilies - 1906, Ryerson.jpg
Claude Monet, Water Lilies, 1906
- Pablo Picasso, 1909, Head of a Woman (Tête de femme), oil on canvas, 60.3 x 51.1 cm, The Art Institute of Chicago.jpg
Pablo Picasso, 1909, Head of a Woman (Tête de femme), oil on canvas, 60.3 × 51.1 cm
- Jean Metzinger, 1913, La Femme à l'Éventail, Woman with a Fan, oil on canvas, 92.8 x 65.2 cm, Art Institute of Chicago..jpg
Jean Metzinger, 1913, La Femme à l'Éventail (Woman with a Fan), oil on canvas, 92.8 × 65.2 cm
- Vassilly Kandinsky, 1912 - Landscape With Two Poplars.jpg
Wassily Kandinsky, 1912, Landscape With Two Poplars, 78.8 × 100.4 cm
- Kazimir Malevich, Painterly Realism of a Football Player--Color Masses in the 4th Dimension (1915). Oil on canvas Art Institute of Chicago.jpg
Kazimir Malevich, Painterly Realism of a Football Player—Color Masses in the 4th Dimension, 1915
- Amadeo Modigliani 040.jpg
- Grant Wood - American Gothic - Google Art Project.jpg
Grant Wood, American Gothic 1930
More highlights from the collection
- AIC-chimera.jpg
An Han Dynasty (206 BC – 220 AD), tomb sculpture of a pixiu (or chimera) creature
- The Annunciation, from a Book of Hours, 1440-45.jpg
Illuminated Manuscript page from a Book of Hours, c. 1440/45
- Salon Louis XVI The Thorne rooms.jpg
One of the Thorne Miniature Rooms, c. 1930s
- Pieces from porcelain collection in Art Institute of Chicago.jpg
Pieces from the porcelain collection in the Art Institute of Chicago
- Museum hall.jpg
Museum hall
During 2009, attendance was around 2 million—up 33 percent from 2008—in addition to a total of approximately 100,000 museum memberships. Despite a 25 percent boost in museum admission fees, the Modern Wing was a major catalyst for a rise in visitor traffic.[35]
As of 2011, the Art Institute continues to rebuild its $783 million endowment since the recession.[36] In June 2008, its endowment was $827 million. As of 2012, the museum is rated A1 by Moody's, its fifth-highest grade, in part reflecting the museum's pension and retirement liabilities; Standard & Poor's rates the museum A+, fifth-best. In October 2012, the Art Institute sold about $100 million of taxable and tax-exempt bonds partly to shore up unfunded pension obligations.[37]
The $294 million extension in 2009 was the culmination of a $385 million fundraising campaign—roughly $300 million for design and construction and $85 million for the endowment. Around $370 million were raised primarily from private patrons in Chicago.[38] In 2011, the Art Institute received a $10 million gift from the Jaharis Family Foundation to renovate and expand galleries devoted to Greek, Roman and Byzantine art, as well as to support acquisitions and special exhibitions of that art.[39]
Acquisitions and deaccessioning
In 1990, the Art Institute of Chicago sold 11 works at auction, including paintings by Claude Monet, Pablo Picasso, Amedeo Modigliani, Maurice Utrillo and Edgar Degas, to raise the $12 million purchase price of a bronze sculpture, Golden Bird, by Constantin Brâncuși. At the time, the sculpture was owned by the Arts Club of Chicago, which was selling it to buy a new gallery for its other works.[40] In 2005, the museum sold two paintings by Marc Chagall and Auguste Renoir at Sotheby's.[41] In 2011, it auctioned two Picassos (Sur l'impériale traversant la Seine (1901) and Verre et pipe (1919)), Henri Matisse's Femme au fauteuil (1919), and Georges Braque's Nature morte à la guitare (rideaux rouge) (1938) at Christie's in London.[42][43]
- William M.R. French (1885–1914)
- Newton Carpenter (1914–1916)
- George Eggers (1918–1921)
- Robert Harshe (1921–1938)
- Daniel Catton Rich (1938–1958)
- Allen McNab (1956–1965)
- Charles Cunningham (1965–1972)
- E. Laurence Chalmers (1972–1986)
- James N. Wood (1980–2004)
- James Cuno (2004–2011)
- Douglas Druick (2011–)
In 2002, the Art Institute of Chicago filed suit alleging fraud by a small Dallas firm called Integral Investment Management, along with related parties. The museum, which put $43 million of its endowment into funds run by the defendants, claimed that it faced losses of up to 90% on the investments after they soured.[44]
In 2010, the year after the opening of its massive Modern Wing, the Art Institute of Chicago sued the engineering firm Ove Arup for $10 million over what it said were flaws in the concrete floors and air-circulation systems. The suit was settled out of court.[45][46]
The Art Institute in film
Film director John Hughes included a sequence featuring his favorite items in the Art Institute, in his acclaimed 1986 film Ferris Bueller's Day Off, which is set in Chicago. Hughes had first visited the Institute, as a "refuge", while in high school. The sequence features three high school seniors, his main protagonists, admiring the works with a musical sound track.[47] Hughes' commentary on the sequence was used as a reference point by journalist Hadley Freeman in a discussion of the Republican Presidential primary candidates in 2011.[48]
See also
- Forest Idyll
- List of museums and cultural institutions in Chicago
- American Academy of Art
- School of the Art Institute of Chicago
- Visual arts of Chicago
- Alme Meyvis
- Old Man with a Gold Chain
- Notes
- ^ "Exhibition and museum attendance figures 2009" (PDF). London: The Art Newspaper. April 2010. Archived (PDF) from the original on 1 June 2010. Retrieved 20 May 2010.
- ^ Viera, Lauren (24 August 2011). "Douglas Druick named director of Art Institute of Chicago". Chicago Tribune. Retrieved 24 August 2011.
- ^ a b Roberta Smith (13 May 2009). "A Grand and Intimate Modern Art Trove". The New York Times (NYTimes.com). Retrieved 2011-06-13.
- ^ Kennedy, Randy. "James N. Wood, President of the Getty Trust, Dies at 69", The New York Times, June 14, 2010. Accessed June 21, 2010.
- ^ Grossman, Samantha (2014-09-18). "These Are the 25 Best Museums in the World". Time. Retrieved September 19, 2014.
- ^ Chicago Tribune (22 April 2015). "Art Institute of Chicago gets its largest gift ever, including 9 Warhols". chicagotribune.com.
- ^ "Gift Worth $400 Million To Art Institute Of Chicago Includes Works By Warhol". NPR.org. 22 April 2015.
- ^ Chilvers, Ian, ed. (2004). The Oxford Dictionary of Art: The Art Institute of Chicago. Oxford University Press. pp. 813–814. ISBN 978-0192800220.
Celebrated masterpieces: Nighthawks; American Gothic; A Sunday Afternoon on the Island of La Grande Jatte.
- ^ "World's most beautiful museums". Fox News.com. 2013-05-03. Retrieved 2013-05-04.
Must-see masterpieces: Georges Seurat's A Sunday on the Island of La Grande Jatte, Nighthawks, and Vincent Van Gogh's Bedroom in Arles.
- ^ Painting profile from the Art Institute of Chicago.
- ^ Art Access at the Art Institute of Chicago.
- ^ Fineman, Mia, The Most Famous Farm Couple in the World: Why American Gothic still fascinates., Slate, 8 June 2005
- ^ "About This Artwork: American Gothic". The Art Institute of Chicago. Archived from the original on 28 May 2010. Retrieved June 20, 2010.
- ^ a b "Nighthawks". artic.edu.
- ^ "Edward Hopper". A Closer Look. National Gallery of Art. 2006. Retrieved 2013-04-30.
- ^ "About This Artwork: Nighthawks, 1942". Art Institute of Chicago. Retrieved 2013-05-04.
- ^ "Edward Hopper's Nighthawks". Present at the Creation. National Public Radio. 2002-10-07. Retrieved 2013-05-04.
- ^ Wood, James N. (1996). The Art Institute of Chicago, 20th-Century: Painting and Sculpture. Chicago: The Art Institute of Chicago. ISBN 0865590966.
- ^ The sale was recorded by Josephine Hopper as follows, in volume II, p. 95 of her and Edward's journal of his art: "May 13, '42: Chicago Art Institute - 3,000 + return of Compartment C in exchange as part payment. 1,000 - 1/3 = 2,000." See Deborah Lyons, Edward Hopper: A Journal of His Work New York: Whitney Museum of American Art, 1997, p. 63.
- ^ "Art Institute of Chicago". visual-arts-cork.com.
- ^ Levin, Gail (1996). "Edward Hopper's Nighthawks, Surrealism, and the War". Art Institute of Chicago Museum Studies 22 (2): 180–195 at 189, 193–194. doi:10.2307/4104321.
- ^ Levin, p. 189
- ^ "Thorne Miniature Rooms". artic.edu. Archived from the original on 15 June 2011. Retrieved 2011-06-13.
- ^ "The Touch Gallery". artic.edu. Retrieved 2011-06-13.
- ^ "Coffin and Mummy Case of Paankhenamun" (PDF). Retrieved 2013-01-13.
- ^ Rossen, Susan F., ed. Selections from The Art Institute of Chicago: African Americans in Art. Chicago: The Art Institute of Chicago, 1999.
- ^ Rossen, Susan F., ed. Selections from The Art Institute of Chicago: African Americans in Art. Chicago: The Art Institute of Chicago, 1999. page 27
- ^ Rossen, Susan F., ed. Selections from The Art Institute of Chicago: African Americans in Art. Chicago: The Art Institute of Chicago, 1999. 66.
- ^ Parker, Daniel Texidor. African Art: The Diaspora and Beyond. Chicago: Daniel Texidor Parker, 2004. pg. 61.
- ^ The Art of Culture: Evolution of Visual Arts by African American Artists, the Last Fifty Years. Chicago: Africa International House USA, 2003. pg. 18.
- ^ "1879–1913: The Formative Years". The Art Institute of Chicago. 2007. Archived from the original on 9 June 2007. Retrieved 2007-06-20.
- ^ Nicolai Ourossof (13 May 2009). "Renzo Piano Embraces Chicago". The New York Times (NYTimes.com). Archived from the original on 13 May 2011. Retrieved 2011-06-13.
- ^ "A New Kind of Institutional Dining". Zagat.com. May 27, 2009.
- ^ "2009 Chicago Innovation Award winners". Chicago Innovation Awards.
- ^ Lauren Viera (May 9, 2011), Art Institute leader resigns Chicago Tribune.
- ^ Kelly Crow (August 24, 2011), "Chicago's Art Institute Names New Director". The Wall Street Journal.
- ^ Brian Chappatta (October 9, 2012), Chicago Art Institute Borrows $100 Million for Pensions Businessweek.
- ^ Jason Edward Kaufman (May 13, 2009), Art Institute of Chicago's massive extension opens The Art Newspaper.
- ^ Kate Taylor (February 27, 2011), A Gift for Art Institute New York Times.
- ^ Chicago Gallery to Sell 11 Works to Buy Brancusi Los Angeles Times, May 10, 1990.
- ^ Carol Vogel (October 26, 2005), Museums Set to Sell Art, and Some Experts Cringe The New York Times.
- ^ Lauren Viera (January 11, 2011), Art Institute paintings to fetch $10-$16 million at auction Chicago Tribune.
- ^ Pogrebin, Robin (January 26, 2011). "The Permanent Collection May Not Be So Permanent". The New York Times.
- ^ "Stick to paintings". The Economist. 3 January 2002. Retrieved 2014-10-24.
- ^ Finkel, Jori (3 June 2014). "Eli Broad's Art Showcase, Still Unfinished, Sues Over Delays in Los Angeles". The New York Times.
- ^ Kapos, Shia (17 September 2013). "Art Institute closes Modern Wing's 3rd floor for 7 months". Crain's Chicago Business. Retrieved 2014-10-24.
- ^ John Hughes commentary - The Museum scene from Ferris Bueller's Day Off. YouTube. 7 August 2009.
- ^ Two new films reveal the death and triumph of the American dream, Hadley Freeman, The Guardian, November 15, 2011
External links
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JANUARY was the 100th anniversary of Ronald Reagan's birth, and the planet nearly stopped turning on its axis to recognize the occasion. Today is the 100th anniversary of Hubert H. Humphrey's birth, and no one besides me seems to have noticed.
That such a central figure in American history is largely ignored today is sad. But his diminution is also, more importantly, an impediment to understanding our current malaise as a nation, and how much better things might have been had today's America turned out less Reaganite and more Humphreyish.
Our forgotten man was born in eastern South Dakota to a pharmacist, a trade the son took over after the family moved to Minnesota. That biographical fact was the source for the derisive title of a 1968 biography, "The Drugstore Liberal" — that is to say, like a "drugstore cowboy," a small-timer, not really a liberal at all, at a time, quite unlike our own, when a liberal reputation was a prerequisite for the Democratic presidential nomination. The unfairness was evident only in retrospect.
Humphrey made his national political debut in 1948 when, as mayor of Minneapolis and a candidate for Senate, he headed the Minnesota delegation to the Democratic National Convention. There he led a faction insisting the platform include a federal fair employment commission, a controversial goal of the civil rights movement.
Segregationist Southerners threatened to walk out, a move that could have paralyzed the entire fragile Democratic coalition and handed the White House to the Republicans. The Democrats' first presidential defeat in 20 years might have been laid at the feet of this ambitious 37-year-old.
Humphrey could have been excused for quietly backing down. Instead, the man who had earned the nickname the Happy Warrior gave one of the greatest speeches in American political history.
"To those who say this civil rights program is an infringement on states' rights," he thundered from the convention podium, "I say this: The time has arrived in America for the Democratic Party to get out of the shadow of states' rights and to walk forthrightly into the bright sunshine of human rights."
The motion carried. The Southerners walked out and ran Strom Thurmond for president. When Harry S. Truman won nonetheless, Democrats were on their way to becoming the party of civil rights. Hubert Humphrey catalyzed that change.
He joined the Senate as a tireless champion of expanding the New Deal, but the exigencies of power were not kind to his liberal reputation. In June 1964 he was instrumental in passing the landmark Civil Rights Act. That August, however, President Lyndon B. Johnson turned to Humphrey to broker another deal at a Democratic convention, this time playing the opposite role: selling out a group of Mississippi civil rights activists who had hoped to be seated as delegates instead of the racist "regular" Democrats.
It was part of Johnson's condition for making him his running mate: he wanted someone who would do what he said without question. Soon Vice President Humphrey was the spokesman for the president's unwise war in Vietnam. He took to the role partly out of loyalty, partly out of conviction: to a certain sort of old-line liberal like him, Vietnam was a crusade against imperialist expansionism. To younger "New Politics" Democrats, however, the war embodied the very opposite: a racist assault by an administration that was itself practically imperialist.
It was Humphrey's misfortune to inherit the presidential nomination in 1968, with the Democratic Party split down the middle between these factions — a tragedy sealed in blood, after Humphrey's faction won the convention, in the streets of Chicago; and at the ballot box, with Humphrey's agonizingly close loss to Richard M. Nixon in the general election.
The defeat came in part thanks to his refusal to denounce the disastrous war in a forthright and timely fashion, and in part thanks to the abandonment of the ticket by the New Politics liberals who called him a warmonger (often, heckling him on the campaign trail, to his face).
Was Humphrey really as hawkish as all that? Johnson didn't think so; he actually preferred that Nixon win the election. He didn't trust Humphrey to hold firm on the war.
Poor Humphrey could never catch a break. Resolutely committed to quiet coalition-building at a time when ideological self-righteousness was the new normal, resolutely unhip at a time when political hipness was at a premium, he was now not just a loser but an embarrassment. He came in second place for the 1972 nomination; the victor, the self-righteous but significantly more hip George S. McGovern, then came in a distant second to Nixon.
In the book by which many would remember that election, Hunter S. Thompson's "Fear and Loathing on the Campaign Trail '72," each mention of Humphrey drips with mocking vituperation. Here, then, to many, is the Humphrey of history: an also-ran, a sellout, a joke.
For progressives today, however, the joke's on us. In the 1970s the Democratic Party turned its focus from a New Deal-inspired politics of economic security toward a Watergate-inspired embrace of institutional reform. The move was explicitly anti-you-know-who: "We're not a bunch of little Hubert Humphreys," proclaimed Gary Hart, the leader of the "Watergate Babies" Democratic Congressional class of 1974.
Their reforms, however, largely failed in their intention to liberalize the nation. Conservatives and business interests were able to bend the new campaign finance rules and Congressional committee systems to their own ends. That, in turn, helped bring about what Paul Krugman calls the "Great Divergence": the economic inequality that has made a mockery of ordinary Americans' aspirations to join and stay in the middle class.
The trends were already in evidence during the presidential season of 1976. The only thing missing was any organized Democratic response among the candidates — besides, that is, Hubert Humphrey, who was once more an also-ran for the Democratic nomination.
Instead Humphrey, who had re-entered the Senate in 1971, spent the rest of the decade doggedly devising legislative solutions to the Great Divergence. His Balanced Growth and Economic Planning Act, introduced in May 1975, when unemployment was at a post-Depression high of 9 percent, proposed a sort of domestic World Bank to route capital to job creators. (It spoke to his conviction, in a knee-jerk, anti-corporate age, that pro-labor and pro-business policies were complementary.)
And at a time when other liberals were besotted with affirmative action as a strategy to undo the cruel injustices of American history, Humphrey pointed out that race-based remedies could only prove divisive when good jobs were disappearing for everyone. Liberal policy, he said, must stress "common denominators — mutual needs, mutual wants, common hopes, the same fears."
In 1976 he joined Representative Augustus Hawkins, a Democrat from the Watts section of Los Angeles, to introduce a bill requiring the government, especially the Federal Reserve, to keep unemployment below 3 percent — and if that failed, to provide emergency government jobs to the unemployed.
It sounds heretical now. But this newspaper endorsed it then, while 70 percent of Americans believed the government should offer jobs to everyone who wanted one. However, Jimmy Carter — a new kind of Democrat answering to a new upper-middle-class, suburban constituency, embarrassed by industrial unions and enamored with the alleged magic of the market — did not.
"Government cannot eliminate poverty or provide a bountiful economy or reduce inflation or save our cities or cure illiteracy or provide energy," President Carter said in his 1978 State of the Union address, a generation before Bill Clinton said almost the same thing, cementing the Democrats' ambivalent retreat from New Deal-based government activism.
Mr. Carter saw to it that only a toothless Humphrey-Hawkins law passed — one that made fighting inflation the government's implicit policy goal while the toll of high unemployment was given much lower priority.
Hubert Humphrey died of cancer on Jan. 13, 1978, a Happy Warrior to the end. "Sometimes I felt discouraged," his wife, Muriel, recalled, "but Hubert never did."
Argue against his supposed heresies if you will. But the post-1970s deregulatory consensus that replaced them, embodied as much by Reagan then as Robert E. Rubin today, has hardly done a great job either. With unemployment once again at 9 percent, inflation minimal, corporate profits at record levels even in the face of criminal perfidy by bankers, the trade deficit at $48.2 billion and racial resentment running as high as ever, shouldn't we perhaps spare a thought, on Hubert Humphrey's 100th birthday, for his road not taken?


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Guess what, y'all?! We are opening a neighborhood green grocery!
After years of working with farmers markets and studying food policy, (and out of my own desire to feed my neighbors) I finally found someone crazy enough to take the leap with me into the world of retail. Even with all of the roadblocks put up by permits and the details of commercial real estate, my partner Jess and I have been buoyed by the unwavering support of our community.
Our vision, quite simply, is to feed our neighborhood well. Little House Green Grocery will offer customers a convenient, neighborhood source for locally produced foods, fresh produce, grocery essentials, and a limited selection of prepared foods while providing a community atmosphere through events and classes. Though we don't know the exact spot yet, we do know that the grocery will be located in the neighborhood of Bellevue, which has a reputation of supporting small businesses and progressive causes. Our vendors and our neighbors are really excited, and so are we!
Ultimately, we want to make this model adaptable to other communities in the city.
Our website is still fairly basic (we are building it ourselves to save cash, but welcome your tips and ideas!) but our Facebook page is pretty lively. Check 'em out for the play- by- play as we move toward our opening in the fall!
To add to the adventure, we have entered a local start-up competition put on by i.e.* with a prize of $10,000. The public is asked to vote on the contestants May 30 through June 1. There are 143 contestants, so we need your vote! Please save the date, tell your friends, and vote for Little House Green Grocery. We will use the funds towards our start-up costs. If we get into the top ten finalists, we will get a billboard (so we hear) and great exposure, which will be invaluable.
We will be starting a Kickstarter campaign soon- we love what crowd sourcing has done for local projects!
Also, if your favorite food producer is looking for a new outlet, please send them our way. The vendor agreement is on the website, as well as our contact info. We are particularly looking for four season farmers and locally produced pantry staples.
Thanks y'all!!


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|Day Meeting fee
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Gala Dinner tickets are NOT included in the registration fee.
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If you wish to join ANZGOSA or ANZHPBA please contact the organisations directly via their websites www.anzgosa.org and www.anzhpba.com
Should you need to cancel your registration, you may reassign your registration to another person. Please notify the Meeting Manager in writing. If you are unable to arrange a replacement, a refund less a $150 cancellation fee will be made provided notification is received by 1 September 2018. After that date, refunds will be at the discretion of the Organising Committee. Refunds will not be granted on failure of visa application. Substitute delegates will be accepted.
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Looking for ways to have some fun in the sun with the family this weekend? Here are some awesome activities everyone will love. The best part is, these summer excursions will work on any given weekend in a moment's notice—no need to make reservations! Whether it's entertaining the pint-size set with trips to the zoo, or building sand castles on the beach with the grandparents, any of these cool suggestions is sure to be a crowd pleaser!
Summer Family Picnics!
Nothing beats a fun family picnic! Cook up some of those scrumptious summer recipes that have been handed down over generations. Pack a pitcher of ice-cold lemonade and top it all off with everyone's favorite homemade dessert that'll make their mouth water with delight!
A Day At The Beach!
No summer can pass by without a trip to the beach! Grandparents, pack a pail as you help turn your grandkids into amazing sandcastle architects! Once they've finished their sand sculptures, how about a family-friendly beach ball toss? On land or in the water, it's the perfect summer family beach activity for all ages!
Pedal in the Park!
Looking for a relaxing way to spend time with the family this summer? You can't do much better than a bike ride in the park. Whether you each cycle solo, ride a tandem, or use a child seat for little ones, a bike ride is a fun way to spend quality time together outdoors. You'll get in some great exercise, too!
What's New At The Zoo!
A trip to the zoo makes a great summer outing, too! It's as fun as it is educational—a great way to introduce small children to the various exotic animals from around the world. Indoor exhibits are usually air-conditioned and make a great way to cool off as well. Go early, pack a lunch, and make a day of it!
So you see, you don't need to spend a lot to get a lot of fun out of summer weekends! With all these suggestions at your fingertips, you and the rest of your family are guaranteed a good time any weekend you choose, filled with smiles and laughter!


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excellent idea. now when congress comes up with things that are bad for us, we have a 1st gardener and 1st beekeeper to whom we can appeal.
Just as important, Victory Gardens offer a way to enlist Americans, in body as well as mind, in the work of feeding themselves and changing the food system - something more ennobling, surely, than merely asking them to shop a little differently.
Anyone know this beekeeper working for the whitehouse? I would love to have the white house participate in "National Honey Bee Awareness Day". That would be cool.
Let's hope the bee's are republican and give Obama a few surprises :evil:


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Shop By Brands
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Custom Planet specialises in providing quality customised clothing & garments for individuals, groups / organisations and corporate customers.
Based in Newcastle Upon Tyne we aim to make your life as easy as possible so we can take care of the whole process from start to finish, or if you want more input and have your own designs then we can work with you to produce your garments to your specification and to our quality standards.
We value your custom and to this end when you create an account with us we can offer you exclusive special offers and discounts.
We only use the best suppliers of garments and delivery service, aiming to get your products to you within 7 days.
We guarantee all of our products and the workmanship of the print / embroidery and if you are not happy with your product we have a 28 day guarantee and will replace any faulty goods within 7 days.


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Please post any questions or feedback about the Watchdog Agent Prognostics Toolkit in this thread.
Hi Doug, this toolkit seems very interesting. We develop condition monitoring products and use the sound and vibration toolkit already. Where can I get more information on the new toolkit?
I am also unable to find a link to download an evaluation.
10-12-2011 09:39 AM - edited 10-12-2011 10:07 AM
The Watchdog Agent was actually just put up this monring and can be downloaded from www.ni.com/watchdogagent. Additionally, here is some more information about the toolkit and its features:
Hey SkyHawk,
It sounds like you don't have the DAQmx driver. If you are using the Watchdog Agent toolkit with USB or other DAQ cards you will need the NI-DAQmx driver. If you are using it offline with already existing TDMS files or with an NI CompactRIO you would not need this driver and use the "offline" examples.
The DAQmx driver can be downloaded from here http://joule.ni.com/nidu/cds/view/p/id/2604/lang/en
How does licensing work with this toolkit?
Any reference information regarding how to use this toolkit? I see there are examples for the toolkit, but I'm looking more for explanations on which algorithm to use in a given situation, advantages/disadvantages of each, etc...
For example, I'd like to monitor the health of a pump using vibration analysis. I'm not really sure where to start so I need more background information on machine condition monitoring, and how it relates to this toolkit.
12-20-2011 03:49 PM - edited 12-20-2011 03:55 PM
Hi Jay, thanks for your interest in the Watchdog Agent Toolkit
Currently the licensing allows for only code development, not deployment. This is because we are still working on ironing some of the kinks out of the toolkit to make it product ready. We are in what we call a Pioneer Release, you may have noticed the toolkit is also currently free. In the near future we will move into a more standard licensing model, allowing for deployment and charging a fee per deployment license.
This is certainly an advanced toolkit and was developed to provide the signal processing functionality to LabVIEW for users who were already familiar with the algorithms. Over time, we hope to be able to deliver this knowledge to customers who may not already have it, but at present the best information regarding which algorithms to use can be found in the help files that install with the toolkit. They describe each algorithm in detail and when best to use it.
For basic pump monitoring, I would recommend you look at the example title "Tutorial." It steps you through basic data acquisition, selects which features of your data acquisition are the most important to monitor, trains a model with healthy and faulty data, and then compares current operating data to the model to give you a confidence value of the current condition of your pump.
Additionally, here are a couple of references that provide an overview of prognostics algorithms:
Any idea when this will be ready for deployment and licensing costs? (approx)
I think we should have a licensed version for deployment sometime late spring 2012. How many units are you looking at deploying? Can you tell me a bit more about your application. It definitely helps push through the R&D process when we have customers requesting it 😉


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Andy Field and Graham Hole are both based in the Department of Psychology at the University of SussexField, Andy is the author of 'How to Design and Report Experiments' with ISBN 9780761973829 and ISBN 0761973826.[read more]
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Posted By
- Contact seller
- -----
- Brookhaven, MS
2018 Chevrolet Camaro LT $32,560
The design of every edge and surface was scrutinized so the lighter, more athletic 6th-generation xxxx Chevrolet Camaro could offer a nimble performance along with a road presence that's hard to ignore. Every Camaro starts with a refined cockpit optimized for performance driving. From leather wrapped steering, to aggressive bolster seating, and an ergonomic middle console layout the Camaro is built to cater the driver. We know Camaro has the muscle, but it also has the brains. Camaro offers drive-centric technologies to enhance the performance driving experience in any driving situation. A standard 7in touch-screen makes connecting to Apple CarPlay and Android Auto a breeze while offering the best each system offers. Models equipped with a V8 engine feature Launch Control, which uses Performance Traction Control to keep the rear tires spinning at the correct speed and allows you to adjust both your launch rpm and wheel slippage through the Driver Details Center. 4 ferocious powertrain options help Camaro dominate the road without sacrificing efficiency pick your poison and then let the horses roar. From the lightweight aluminum wheels to the roof's striking "reverse mohawk" channel, every element of this sports car was thoughtfully engineered to help you improve your performance.
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Marketoonist is the thought bubble of Tom Fishburne. Marketing cartoons, content marketing with a sense of humor, keynote speaking.
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Error: Invalid or expired token.
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Huntington, New Yorkers spend more than four times the average amount of video games, according to a recent study by credit card spending tracker Bundle.
The study looked at spending at GameStop, EB Games and Steam from July 2010 to June 2011 for the top 100 cities in the U.S. by population. Bundle based their study on aggregated, anonymized spending data from 20 million Visa and Mastercard customers. So that means that the results are impacted heavily by the sorts of people who have a credit card and use it for purchases regularly. But it's still an interesting study.
Here's the full list of the top 50 cities that spend the most on video games, check out Bundle for some other interesting facts about gamers.
Click on the bottom right of the image to see it full sized.
1. Huntington, New York
2. North Hempstead, New York
3. Laredo, Texas
4. Chesapeake, Virginia
5. Modesto, California
6. Pittsburgh, Pennsylvania
7. El Paso, Texas
8. Cincinnati, Ohio
9. Buffalo, New York
10. Virginia Beach, Virginia
11. Rochester, New York
12. Birmingham, Alabama
13. Miami, Florida
14. Honolulu, Hawaii
15. Toledo, Ohio
16. Baton Rouge, Louisiana
17. Corpus Christi, Texas
18. Plano, Texas
19. Fresno, California
20. St. Louis, Missouri
21. San Antonio, Texas
22. Wichita, Kansas
23. Montgomery, Alabama
24. Tulsa, Oklahoma
25. Hialeah, Florida
26. Riverside, California
27. Lubbock, Texas
28. San Bernardino, California
29. Fort Worth, Texas
30. Philadelphia, Pennsylvania
31. Fort Wayne, Indiana
32. Bakersfield, California
33. Lexington-Fayette, Kentucky
34. Chula Vista, California
35. Albuquerque, New Mexico
36. Akron, Ohio
37. Jacksonville, Florida
38. Greensboro, North Carolina
39. Tucson, Arizona
40. Raleigh, North Carolina
41. Stockton, California
42. Arlington, Texas
43. Durham, North Carolina
44. Long Beach, California
45. Chandler, Arizona
46. Lincoln, Nebraska
47. Anchorage, Alaska
48. New York, New York
49. Milwaukee, Wisconsin
50. Aurora, Colorado
Game-obsessed: U.S. cities that spend the most on video games
You can contact Brian Crecente, the author of this post, at email@example.com. You can also find him on Twitter, Facebook, and lurking around our #tips page.


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Commercial air travel is the safest form of intercity transportation in the United States. Every day U.S. airlines transport more than 2.4 million passengers and more than 58,000 tons of cargo. Safety is our number one priority. A4A and our member airlines work together with the Department of Transportation, Federal Aviation Administration, National Transportation Safety Board, Department of Homeland Security, Transportation Security Administration, Customs and Border Protection, aircraft manufacturers, labor and others to provide a safe and efficient travel experience. As a result, the U.S. airline industry is experiencing the safest period in aviation history.
Our Commitment to Safety
The U.S. airline industry operates the safest form of intercity transportation, thanks to the ongoing and strong collaboration between the airlines, labor, manufacturers and government. Working together with government agencies like the Federal Aviation Administration, airlines are able to develop and implement tools and procedures to ensure we always maintain the highest level of safety for our customers, employees and aircraft.
Many programs are offered for both passengers and crewmembers that enhance security and expedite screening. The traveling public is eligible to register for TSA's Pre-Check and Global Entry programs. Flight crews of participating airlines are able to enroll in the Known Crewmember Program.
A4A maintains close contact with FAA leadership to serve as the premier source of advice, coordination and consensus-based leadership for public policies pertaining to airline engineering and maintenance, including safety, airworthiness, reliability and cost effectiveness aspects.
It's a great time to fly. Airfares are affordable and actually fell 30 percent from 2000 to 2018, when adjusted for inflation. U.S. airlines continue to deliver strong on-time performance, helping you get to your destination safely and efficiently.
In addition to running an economic and efficient form of travel, carriers are working hard to improve your passenger experience. U.S. airlines invested more than $120 billion in 2010-2018 to enhance their product and service by purchasing new fuel-efficient aircraft, adding state-of the-art seats and interiors, developing modern airport terminals and customer lounges and expanding in-flight entertainment, mobile technology, Wi-Fi and gourmet meal offerings.
Each day, U.S. airlines move more than 58,000 tons of cargo, contributing to the global economy and making life easier by bringing everyday items directly to you, the consumer. Both passenger and cargo carriers provide a variety of reliable cargo services, delivering goods to their final destination more efficiently than any other means of transportation.
Cargo is a priority for our members, as airlines continue to be the preferred method to move valuable and highly perishable products across the country and around the world. Cargo carried by airlines represents more than one-third the value of all transported goods. Some of these include live animals, human organs for transplant, urgent air mail, industrial parts needed for repairs and perishables like fresh fish, fruits, vegetables, flowers and much more.
To ensure the safety of passengers and employees, airlines work with government agencies to implement a range of safety and security measures for air cargo and its supply chain – from manufacturers and shippers to forwarders and carriers. Around the world, governments are working together to enhance and further expedite the shipping experience and develop risk-based security programs that would set cargo standards across countries and regions.
Commercial aviation helps drive more than 10 million American jobs. Our member airlines contribute at the local, state, national and global levels, transporting people and goods around the world safely, efficiently and economically. The industry supports and creates new markets at home and abroad, as communities across the world rely on access to air transportation for economic growth and stability.
Our Economic Impact
U.S. airline employees in the air and on the ground enable approximately 28,000 daily flights. U.S. passenger and cargo carriers employ 750,000 people worldwide and help drive more than 10 million American jobs.
A stable, healthy aviation industry enhances job security, pay and benefits for airline employees. U.S. passenger airline employees earn 45 percent higher wages than the average private sector employee.
Our member carriers provide wide-ranging job opportunities from engineering to customer services, ground and maintenance instructors to flight crews and management personnel. For every 100 airline jobs, approximately 300 are supported outside of the airline industry both directly and indirectly, including aviation-related government agency positions, such as air traffic controllers employed by the FAA, and research and development positions that enable advancements in all facets of airline operations.
Airlines stimulate business through direct and indirect commerce, support economies through taxes and infrastructure investments and provide job opportunities in aviation and other industries. Additionally, airlines work with local charities and volunteer groups to give back to the communities in which they work and live.
The health of the industry is inextricably linked with that of the economy – as airlines do well, they also invest in their product and infrastructure, including new planes, customer amenities and airport expansion or renovation.
As carriers increasingly foster safe, efficient and affordable connectivity, cities and states are enhancing the appeal of their regions for travelers and shippers. Flight schools across the country work with airlines to teach, train and employ the next generation of pilots. Aircraft part manufacturing facilities provide opportunities in highly skilled positions. Investors elect to augment tourist attractions and build business conference centers in cities with greater access to air travel and time-sensitive movement of high-value merchandise.
Commercial aviation has a direct impact on our nation's economy, creating more than 10 million well-paying American jobs and driving 5 percent of the U.S. gross domestic product and nearly $1.7 trillion in annual economic activity. Healthy U.S. airlines stimulate the commercial aviation industry, as well as the broader economy through increased connectivity, trade and enhanced mobility of people, cultures, goods and ideas.
Airlines significantly improve opportunities for trade and increase productivity for other industries. Many businesses rely on airlines to quickly deliver high-value items, urgent documents, industrial parts needed for repairs and perishables like fresh fish, fruits, vegetables and flowers. Flying reduces time spent traveling, offering greater efficiency for business customers and more leisure time for vacationing families.
As the industry serves more international destinations, customers visiting the United States are spending three times as much on other travel and tourism goods and services as they do on airfare, benefiting the nation's economy.
Between 1978 and 2018, U.S. airlines improved fuel efficiency by over 130%, which has resulted in nearly 5 billion metric tons of carbon dioxide savings. Our member airlines have a strong record of environmental responsibility. Today, our airplanes are quieter, cleaner and use less fuel than ever, and we fly them smarter. Carriers continue to invest in new aircraft and engines, winglets, alternative fuels and operational procedures – both in-flight and on the ground – among many other initiatives to create cleaner, greener skies for us all.
Our Environmental Focus
Our member carriers are committed to maintaining a green operation. U.S. airlines are spending tens of billions of dollars to upgrade fleets, implement cutting-edge technologies, introduce new flight procedures and fly more direct routes.
U.S. airlines contribute just 2 percent of domestic greenhouse gas (GHG) emissions – much less than the 27 percent produced by the balance of the transportation industry. Carriers have implemented procedures to reduce fuel usage, such as single-engine taxi and selectively shutting down engines during ground delays. They also have replaced onboard equipment with lighter materials. Aircraft paint schemes have even been adapted to minimize heat absorption, thereby requiring less energy for cooling.
As a result of our efforts, between 1978 and 2018, the U.S. airline industry improved its fuel efficiency by over 130 percent, resulting in nearly 5 billion metric tons of carbon dioxide (CO2) savings – the equivalent of taking over 26 million cars off the road in each of those years. Further, data from the Bureau of Transportation Statistics confirms that U.S. airlines carried 42 percent more passengers and cargo on a revenue-ton-mile basis in 2018 than they did in 2000, while emitting just 3 percent more total CO2.
We are not stopping there. The initiatives that our airlines are undertaking to further address emissions are designed to responsibly and effectively limit our fuel consumption, GHG emissions contribution and potential climate change impacts, while allowing commercial aviation to continue to serve as a key contributor to the U.S. economy. For example, A4A and its airlines are dedicated to developing commercially viable, environmentally friendly alternative jet fuel, which could be a game-changer in terms of aviation's output of emissions while enhancing U.S. energy independence and security. We are central stakeholders in partnering efforts to modernize the outdated air traffic control system on a business-case basis and to reinvigorate research and development in aviation environmental technology, both of which can bring additional and extensive emissions reductions. We also support a global sectoral approach to aviation climate change policy under the International Civil Aviation Organization, the United Nations body that sets standards and recommended practices for international aviation. A4A and our members support agreements reached by ICAO in 2016 for a CO2 certification standard for future aircraft and the development of an international carbon offsetting system to help achieve carbon neutral growth from 2020 and implementation of these agreements by the United States.
U.S. airlines have an exceptional environmental record, which continues to grow stronger as we further reduce fuel consumption and related emissions. A4A and our member carriers are working to develop environmentally friendly fuels that could enhance energy supply and reduce emissions typically associated with fossil fuels, including greenhouse gas emissions.
Improving fuel efficiency is the right thing to do for our environment. It also makes good business sense. Today, U.S. airlines carry more traffic per gallon of jet fuel than ever before, but every $1 increase in a barrel of crude oil per year costs the industry $450 million. Alternative fuels could introduce a competitor to petroleum-based fuels that would reduce price volatility for airlines and their customers while bringing environmental benefit.
A4A is a founding and principal member of the Commercial Aviation Alternative Fuels Initiative®, which brings together airlines, government, manufacturers, fuel suppliers, universities, airports and other stakeholders to encourage the research, production and use of sustainable alternative aviation fuels. It supports the development of alternative aviation fuels that meet current safety standards and provide a cost-competitive, environmentally friendly substitute for jet fuel and security of energy supply for the industry.
Today, commercial aircraft are more than six times quieter than they were 40 years ago. Since 1975, we have reduced the number of people exposed to significant aircraft noise in the United States by 94 percent, while the number of U.S. airline passengers has more than quadrupled.
Aircraft noise includes engine noise and aerodynamic noise. An engine creates noise as air enters the turbine and is discharged in the form of high velocity exhaust. The movement of the airframe through the air, including airflow on high-lift devices (e.g., flaps and slats) and landing gear, causes aerodynamic noise. The amount of noise from an aircraft changes over space and time depending on thrust settings, rate of climb or descent and speed. We are working to continue to reduce sound propagation through operational and technology advances.
Our member airlines employ operations and procedures that minimize and mitigate aircraft noise, including optimized profile descent (OPD), which limits noise and emissions. OPD reduces peak noise levels up to five or six decibels along the flight path. Researchers are also exploring Quiet Climb, a thrust management option used to automate low-noise departure procedures.
Airlines and airframe manufacturers are committed to making technological advancements that will reduce both noise and emissions, including use of noise absorbing materials in engines, advanced nacelle design, mechanical engine refinements and airframe adjustments.
A4A airlines are committed to protecting the environment in every aspect of their operations, including water quality. That includes working with airports staff, who also have a responsibility for clearing and deicing runway/taxiway surfaces and addressing associated environmental concerns, to ensure that stormwater does not adversely impact nearby rivers, streams and lakes.
A4A, together with its Program Partners, has created the Voluntary Pollution Reduction Program, to promote pollution reduction from aviation-related deicing activities by advocating and tracking the adoption of commercially-appropriate pollution-reduction technologies.
A4A's Program Partners are the Regional Airline Association (RAA), Airports Council International (ACI-NA), American Association of Airport Executives (AAAE).
Airlines are the physical internet, transporting 2.4 million passengers and more than 58,000 tons of cargo daily. Our members are committed to a safe, efficient and affordable operation that serves customers and supports the communities in which we work and live.
Support for our communities
Airlines provide the safest and most efficient form of inter-city travel. Air travel connects communities and brings people together, making it possible to visit loved ones and attend business meetings and special events like birthdays, weddings and holidays.
U.S. carriers have developed a global network that allows for the transfer of people, goods and ideas, linking cultures and traditions across the world.
Our members understand the importance of teamwork both in the air and on the ground. They are proud to invest in the communities where they live and work. As an industry, U.S. airlines are committed to sustainability of our planet and cultures.
Airlines support the communities they serve through relief efforts, donating miles, fantasy flights and volunteer opportunities for employees and customers. We develop meaningful relationships with non-profit and cause-related organizations to support initiatives such as protecting the environment, encouraging medical advancements, enhancing education and promoting the arts.
Each day, U.S. airlines move more than 58,000 tons of cargo, making life easier by bringing everyday items directly to consumer. Both passenger and cargo carriers provide a variety of reliable cargo services, meeting your shipping needs and expediting delivery of goods to their final destination more safely and efficiently than any other means of transportation.
The total value of merchandise exported from or imported to the U.S. by air in 2018 was $1 trillion. Items transported by airlines include live animals, human organs for transplant, urgent air mail and perishables like fresh fish, fruits, vegetables, flowers and much more.
Airlines make it possible for a person in California to enjoy fresh lobster from Maine. Artwork and historic artifacts transfer temporarily from one museum to another for special exhibits. Large industrial parts needed for repairs move with ease from one place to another.


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Fighting engulfed parts of Yemen's capital Sana'a Monday as forces loyal to embattled President Ali Abdallah Saleh clashed with military units who have joined the opposition. Mediation efforts by the Gulf Cooperation Council and the United Nations appear to be meeting resistance.
Mortar rounds and automatic rifle fire erupted throughout the day Monday in parts of Sana'a, as fighting pinned many residents at home.
Medical officials in Yemen report more than 40 dead and hundreds wounded from two days of violence in the capital.
Stephen Steinbeiser of the American Institute for Yemeni Studies describes the clashes from Sana'a.
?The fighting started last night very, very close to our institute and it's intensifying and we're behind a public hospital in the capital and now the Ahmed Ali folks, loyal to the president have taken up position there,? said Steinbeiser.
He says there are snipers on the main street.
"We're kind of in an alleyway - and on the main street in front of that there are snipers that are basically shooting at anything that moves.
".... and now we've been hearing shots and explosions in other parts of the city,? said Steinbeiser.
Arab satellite channels report that envoys from the Gulf Cooperation Council and U.N. are trying to mediate a truce between forces loyal to President Saleh and rival military units loyal to General Ali Mohsen al Ahmar, who sided with opposition protesters earlier this year.
Steinbeiser believes that events are reaching a critical stage.
?There's going to come a point where it's going to be too far and people are not going to be able to pull back,? said Steinbeiser. "But, I don't think that the president is going to give up easily. I just don't think that this stalemate is going to be resolved peacefully, and certainly not soon.?
Mr. Saleh continues to insist that he is willing to hand over power, but only after a fresh presidential election is called.
Stephen Steinbeiser says most observers in Yemen concur that Mr. Saleh is ?not going to go quietly.?
?It occurred to me that this is probably just going to be a street to street thing until someone ends up with most of the city, because Sana'a is really the last part of Yemen to hold out for the president,? said Steinbeiser.
President Saleh remains in neighboring Saudi Arabia, recovering from injuries sustained in a June attack on his presidential compound.
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and discuss them on our Facebook page.


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The goal of the CVS component is to provide the best CVS integration in the best IDE. Because the CVS plug-in includes a pure java client, the support works without requiring a command line client install on the users machine. The advantages of writing a custom java client is that we can implement features that wouldn't be possible using the command line client (e.g. browsing a remote repository, connection re-use). However, this comes with a disadvantage; we must keep up with CVS server revisions and ports, plus keep up with new features.
The CVS support is not packaged for use outside of an Eclipse workspace. It's really an Eclipse CVS client and not a generic java CVS client. It would be nice to have, but initially we were focused on rich integration in Eclipse. Another minor point; the CVS plug-in doesn't expose an API. That means that accessing the internal classes is technically possible (e.g. we don't restrict run-time access to the classes) but we don't guarantee binary compatibility between releases.
If you are already a CVS developer, check out the Development Resources.
3.4 Development
3.3 Development
Archived Releases
If you are interested in participating in the development of the CVS component, there are several ways of contributing:
Back to the top


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Identifying Factors that Contribute to Achievement Gaps
Discussion Guide 2
Raising achievement to higher levels and closing student achievement gaps are priorities in schools and communities at all economic levels, and in urban, rural, and suburban settings.
This guide is designed to help NEA members lead a discussion with other educators and community members that will identify the specific factors contributing to local achievement gaps in schools, school districts, and communities. Gaps may exist between groups of students of different backgrounds (e.g., ethnic, racial, gender, disability, and income) on tests, on access to courses and special educational opportunities, and on other indicators such as high school and college completion and employment later in life (see Discussion Guide #1, Identifying Achievement Gaps in Your School, District, and Community).
The causes of achievement gaps are multiple and complexly interrelated, and they vary from school to school, district to district, and community to community. As a starting point, consider factors that have been identified in various studies as contributing to achievement gaps.
Factors That Contribute to Achievement Gaps
|Within Schools' Control
|Outside Schools' Control
Schoolwide Factors
Low expectations for student achievement;
Factors in the Local Community
Economic opportunity for students' families;
Teacher- and Teaching-Related Factors
Uncertified and inexperienced teachers;
Students' Background
Families' income level;
Student-Related Factors
Students' interest in school;
Education Funding Shortfalls
State budget deficits;
Families' Support of Students' Learning
Families' participation in school activities;
Families' Support of Students' Learning
Time family members are able to devote to support and reinforce learning. Other Factors Societal bias (racial, ethnic, poverty and class)
Discussion Questions
- Do any of these factors contribute to achievement gaps in our school? In our school district? In our community? Which ones contribute - and to which gaps do they contribute?
- Are there other factors that contribute to the local achievement gaps we have identified? How do they contribute - and to which gaps do they contribute?
- What concerns or questions are raised by the list of factors that contribute to local achievement gaps?
Related Content
- Identifying Achievement Gaps in Your School, District, and Community - Discussion Guide 1.
- Identifying Stakeholders' Responsibilities for Closing Achievement Gaps: District and School Based Strategies - Discussion Guide 3.
- Identifying Stakeholders' Responsibilities for Closing the Achievement Gaps: Stakeholder Actions - Discussion Guide 4.


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